Castle and dreamer (2023) 绘画 由 Valeria Yscava

水彩在纸上, 18.9x13.4 in
US$643
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美术纸, 11x8 in

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该作品灵感来自保罗·克利的艺术,是对作品“城堡与太阳”的致敬。. 这幅作品散发着和平与关怀、想象的乐趣和梦想尘世生活的乐趣。采用作者的技术在高科技纸上用水彩创作,通过光泽纸的对比和笔触的粗糙度创造出原始的纹理和印象。 关于这件艺术品: 分类, 技术技巧 & 款式. 水彩. 水彩是一幅画,其中阿拉伯树胶结合透明颜料,露出画作的支撑。相同成分的水粉是不透明的。水彩是纸上的水性绘画。我们很少谈论一幅水彩画作品的绘画。水彩画被认为是一种使用水溶性颜料创造性地表现梦想、幻觉、情感和光感的独特方式。但是,用水彩绘画可能很困难。这是一种难以掌握的媒介,很大程度上是因为它可能是无情和不可预测的。错误难以纠正,其流动性使其难以控制。然而,正是这些品质赋予了媒体不可否认的魅力。. 超现实主义. 它由作家安德烈·布雷顿(AndréBreton)于1923年创立,它将团结许多艺术家,如萨尔瓦多·达利(Salvador [...]
该作品灵感来自保罗·克利的艺术,是对作品“城堡与太阳”的致敬。
这幅作品散发着和平与关怀、想象的乐趣和梦想尘世生活的乐趣。采用作者的技术在高科技纸上用水彩创作,通过光泽纸的对比和笔触的粗糙度创造出原始的纹理和印象。

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Art is centered on one fundamental, basic plot, one figure – a person. As an artist, I focus my optics on the nature of personality in its relationships with others, in interaction with the network of cultural [...]

Art is centered on one fundamental, basic plot, one figure – a person. As an artist, I focus my optics on the nature of personality in its relationships with others, in interaction with the network of cultural traditions and codes. In this limitless field of research, I problematize the figure of a person as a medium, offering viewers to critically consider our ability to hear and understand each other, to be sincere.

I work with people's stories, using allegories, wordplay, the form of a symbolic and pictorial palimpsest. History is accumulated by a person, turning into a unique symbolic aura, like a tree rhizome. It is this model that seems to me the most interesting context for working with a portrait image. Constructing characters according to this model, I create and, at the same time, strive to unravel the appearance of a person as a rebus – as a restrained and unpredictably distorted exteriority of his inner world, his feelings, views and experience, his personal history. As an exquisite dance of reality and fiction, a wild fantasy that serves either the creative or escapist principle in a person. 

As an artist, I only bring the characters to light, trying to let them express themselves and tell about themselves. For me, as well as for the viewer, the person depicted in the portrait always remains a mystery. 

However, despite the fact that people are not endowed with the ability to read each other's thoughts, our desire to be sincere is not hopeless. There is always an opportunity to approach the Other - through participation in the collective, in the archetypal. This is only a whisper, but its echo can be heard and recognized in the Other. This is the balance between knowledge and complete ignorance: to be sincere, but never have the opportunity to be completely visible; to doubt, but inevitably to be involved. 

For me, a portrait is a kind of field of conceptualization of a vacuum as an imaginary quality that we, by inertia, attribute to the endless network of intertext. There is no void as such between people, everything is interconnected. I strive to project this diachrony of illusion and reality onto a familiar, empathically close image of a person. 

In the end, a person, a portrait, a private worldview never remain isolated from the attention of the Other. We live a joint historical experience, an experience of sharing the sensory. I paint portraits of the Other, likening them to still frames, which at first glance may seem meaningless, empty. But in fact, each such still frame is a part, a link in a modern history familiar to everyone and lived by everyone.

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